Giles Coren dips his toe in the water - will he take the plunge?

In a disembodied digital age, he's made a decision to participate instead.

Jamie Mulvaney

Jamie is Vicar of St Michael's Chester Square, London.

A casually dressed man strides down the aisle of a church between the pews.

Danique Godwin on Unsplash

It takes a lot of courage to write about what you don’t know. Newspaper columnists and restaurant critics are paid to be omniscient, and Giles Coren is very good at channeling observation and insight into his articles in an acerbic and amusing way.

He recently wrote in The Times about what he does and doesn’t know about Christianity. He wrote with humility and humour, which amongst other things made me wonder how many of us who are part of the church would do well to be honest about what we don’t know.

The journey that Coren tells about his “not not believing” is staked along the way by the language of the church and its buildings. In other words: worship.

Belle Tindall recently wrote about the prejudice met by Kate in White Lotus when she tells her friends that she finds going to church “very moving.” To them it is “self-defeating”, but perhaps it opens us up the possibility that there is a greater centre of gravity than our own selves. Going to church has been associated with so many unhelpful divisions and distractions and often the church is to blame.

But believers and non-believers alike run the risk of missing out on so much of faith. We limit it to information and observation, when the full benefit is found in participation. Whether pilgrims, prodigals or someone else altogether, we can analyse and stand on the sidelines as much as we want, but Coren and his son are taking part:

“I gave up not going to church some time ago. Most Sundays I am there, praying and singing — another lapsed atheist hoping that the non-existent God he was brought up not to believe in doesn’t see.”

Perhaps this act, and writing about it in The Times, is even braver given our seemingly disembodied, digital, post-pandemic individualistic lives. A podcast may give you propositional truths you can accept or reject, but being caught up in worship is in a different order altogether. Coren writes:

“And I have a sense that God is there — in the tradition, the words, the 2,000 years of conviction, the imagination of all the people who came before me…”

God is the interesting thing about Christianity, and Christians believe that this God became human. Amidst all that we don’t know and don’t see, going to church makes tangible what can feel intangible.

Coren writes that the only moment he feels left out is in Communion, and that perhaps one day he will get baptised. The Greek word where we get ‘baptism’ from means to overwhelm. In an overwhelming world, more and more people are seeing the merit in being overwhelmed with God. If we are to experience this, it means that at some point we need to dive into the water.

Article

Belief

Culture

Music

25 April 2025

5 min read

How Mumford and friends explore life's instability

Communing on fallibility, fear, grace, and love.

Jonathan Evens

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A bassist hauls a double bass of its base as he plays it.

Daniel Boud/x.com/mumfordandsons.

“Serve God, love me, and mend” must rank as one of the more unexpected openings to a hugely popular album in the history of rock ‘n’ roll. A quote from Shakespeare’s Much Ado About Nothing, it introduces us to the potent mix of Shakespearean and Biblical allusion and imagery to be found on Mumford and Sons debut album Sign No More.

Sigh No More, both as song and album, begins with confident assertions of faith then moves into acknowledgement of human fallibility and prevarication summed up in the Shakespearean phrase that “Man is a giddy thing” before asserting that love does not enslave but is freeing, enabling those who know it to become the people they were meant to be. The song ends with a prayer to see the beauty which will come when the protagonist’s heart is truly aligned with love. Throughout the album, the overriding concern is that personal fallibilities and fears – the darkness within – will prevent grace from having its full effect and the beauty of alignment with love from being fully realised.

In many Mumford and Sons songs such personal instability is the problem to be resolved; “Man is a giddy thing”, “Why do I keep falling?”. Their search is often for the relationship or place that will provide stability:

I can't say, "I'm sorry," if I'm always on the run

From the anchor (‘Anchor’)

‘Roll Away Your Stone’ describes the darkness within as a God-shaped hole filled with false gods:

See you told me that I would find a hole

Within the fragile substance of my soul

And I have filled this void with things unreal

And all the while my character it steals

but this is not how life has to be:

It seems that all my bridges have been burned

But, you say that's exactly how this grace thing works

It's not the long walk home

That will change this heart

But the welcome I receive with the restart

Lead singer and songwriter Marcus Mumford knows how this grace thing works because, on the one hand, his parents founded the Vineyard Church UK and Ireland meaning he grew up in the context of grace and, on the other, he seems to have experienced grace personally in relation to the sexual abuse he suffered as a child (which was not experienced in his family or his church). In ‘Grace’ from his self-titled solo album he contrasts grace, flowing like a river, with the experience of acknowledging the abuse he endured and the healing for which he prays.

Such biblical allusions and references abound in the songs of Mumford and Sons, as is also the case with some of those with whom they performed, supported or inspired. The Nu-folk movement of which the Mumford’s were part, began at a club called Bosun’s Locker in Fulham. There, with the likes of Laura Marling, Noah and the Whale, and others, their musical journey commenced. Noah and the Whale’s first album Peaceful, the World Lays Me Down featured philosophical rumination on a par with that of Sigh No More including lines such as:

Oh, there is no endless devotion

That is free from the force of erosion

Oh, if you don't believe in God

How can you believe in love?

Following the closure of Bosun’s Locker, Ben Lovett from Mumford and Sons, with others, set up Communion Records, a network of musicians, songwriters, industry and music fans who all share a common philosophy and set of ideals. Among the artists supported by Communion have been Bear’s Den and Michael Kiwanuka.

Bear’s Den is one of several bands, which also included Dry the River, that have used religious and spiritual symbols in their songs. Andrew Davie from Bear’s Den has said: “I wouldn't say I'm particularly religious, but I was brought up going to church every Sunday, I studied a bit of religion in school and just from going to Sunday school, it's almost that I know the stories so well, that I find it a cool way of telling more modern and more nuanced stories about my own life. As a backdrop to that I find it just constantly helpful and it's quite a powerful way to talk about things. It adds weight to me.” Similarly, Matthew Taylor of Dry the River said of the theological imagery in lead singer Peter Liddle’s songs: “It’s always been a tool for Peter I think, to use the imagery you’re talking about, to add weight to what he’s writing about. It’s rich imagery, and the ideas are ones that people can relate to easily, if there’s that familiarity there.” Both recognise, as do Mumford and Sons, the continuing power of Christian ideas and imagery and their resonance for young people.

Michael Kiwanuka was surprised that his early song about faith ‘I’m Getting Ready’ was enthusiastically released first as the title song of an EP from Communion Records and then by Polydor as a single from his debut album Home Again. Kiwanuka, who is married to Christian singer Charlotte, has consistently expressed aspects of his faith through songs like ‘Love and Hate’, ‘One More Night’, ‘Solid Ground’, and ‘Floating Parade’. Alexis Petridis has noted that Kiwanuka sees more people searching for a belief system: “Having a faith in things now is, I think, a lot more acceptable, whatever faith it is. There’s no dogma, necessarily. We’re connected by the struggles we have and I think that’s what I’m singing about – being a human being and trying to overcome, which is what we’re all doing in a way.”

Whether opening up space for bands to utilise the power of Christian imagery in their songs or enabling singers with a Christian faith to be heard on mainstream labels, Mumford and Sons, by example and support, have created opportunities for faith to be explored and appreciated. The response to their music, its themes, and those of artists with whom they connect, seems to reflect a growing openness to spirituality and faith. As they sang, together with Pharrell Williams, on ‘Good People’, “Welcome to the revelation”.

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